| A | B |
|---|
| high angle | camera above subject looking down |
| eye level | normal position |
| low angle | camera below subject |
| reverse angle | viewing the subject from the opposite angle |
| exaggerated angle | overhead or underneath or other weird angles- used for special effects |
| canted angle | a shot made in which one side of the horizontal axis of the image is raised or lowered so that the image is no longer level |
| focus | image is sharp and details precisely defined |
| deep focus | everything or almost is clearly in focus |
| soft focus | usually achieved by putting something in front of or on the lens to defocus the lens |
| focus selectivity | use of oocus as a creative element in filmmaking by control of what is in or out of focus |
| rack focus | shifting focus DURING shot |
| focal length in lenses | distance from the front of the lens to the film plane in the camera |
| standard or normal focal length | 50 mm for 35 mm film |
| wide angle ( fish eye) | shorter than 50 mm fish eye give 180 degree field of view |
| long or telephoto | magnify image and give the perception of being closer to the action- used for closeups |
| zoom | can be adjusted from wide angle to telephoto |
| anamorphic lens- used with widescreen | compresses horizontal dimension of an image |
| filters | adjust film stock to indoor, outdoor or empahsize elements |
| depth of field | the range of focus- from front to back- that is in focus in a shot |
| pan | camera moves horizontally from a fixed axis- image moves left to right or vice versa |
| tilt | camera moves vertically- top to bottom or reverse |
| dolly | shot made from a camera mounted to a small wheeled vechicle |
| travel or tracking | camera follows action by runnin parrallel to it |
| framing | refers to any small adjustment of camera to keep subject in the proper place in the frame |
| arial shot | overhead shot- usually ELS |
| intercutting | editing- using cut-ins to develop the narrative within a scene |
| cut-in | when shot B shows a closer view, or detail, of something established in shot A- shot B is the cut in |
| cut away | cutting to shot B to show something entirely away and outside of shot A |
| crosscutting | cutting back and forth between two different locations or among several different locations |
| flashcutting | using cuts that are so brief that they are barely perceptible to the human eye |
| filmic punctuation | techniques of joining shots |
| cut | from one shot to another |
| straight cut | nothing comes between cuts |
| hard cut | calls attention to itself |
| jump cut | displacement in time when a portin in the middle of a continuous shot is removed |
| reverse cut | shot in which the camera is placed opposite its previous postion |
| dissolve | transition between two shots in which for a period of time both shots are seen |
| film and director that used dissolves in 1941 | Orson Wells- Citizen Kane |
| fade in/ fade out | fade out- image going dark- fade in-image getting lighter |
| wipe | transition between two shots in which shot B replaces shot A by moving across the screen |
| iris out | ever diminishing circle leaving a dark screen- iris out |
| iris in | occurs when a dark screen opens with a progressively larger circle |
| flip frame | outgoing shot literally flips off the screen , while the incoming shot flips on- used more with television |
| push- off | incoming image pushes the outgoing image off the screen, whole image is push off the screen |
| wipe | the incoming image COVERS the outgoing image |
| swish pan | a transition between shots in which shot A ends with a quick panning motion and shot B begins with a similar pan- usually in the same direction |
| defocus | shot going out of focus |
| refocus | shot comes into focus to punctuate the beginning of a shot |
| white in- white out ( or color if color film) | like a fade- but can also be color |
| crane | devise that can move up or down and can provide vertical tracking relative to a stationary subject |
